Justin Bacle

2 hours ago, Kisaha said:

@Justin Bacle I was exaggerating of course! Also there its slow motion capabilities are almost a joke (this is the main disadvantage), but it is a 2986euros (including 24% Vat) in my country and the FS7ii is 12.300euros, FS5 is 6700euros double the price and some.. After a couple of substantial firmware upgrades this little camera is worth to be considered in many peoples buying lists.

 

Too bad the price is still at 3600€ in France (including taxes) while it is at 2600$ in the US :s 

19 hours ago, Kisaha said:

If it adds 10 bit, then it will be called FS7 mark II, and will be sold for 9.999$ in B&H! (and it will have e-ND too!)

The sensor doesn't have the same dynamic range as the FS7 though, so it wouldn't really be that equivalent

So basically, with this upgrade, the only thing missing from this camera is 10bit (which is mentioned on this thread but not on the update page).
If they add it, I'll have no reason not to buy it :D

2 hours ago, Greenhappy said:

I have reached the conclusion that the PROSKAR tier adapters are a bit too soft. A KOWA 16s is in my sight. Anyone have any experience or observations for it? It seems a bit rarer than other models. It is also more expensive than the Isco Blue Ultra Star 2x

Just go with the Isco Ultrastar and Vid Atlantic front and rear clamps if you want the best quality/price ratio
You just won't get anamorphic flares (but you can force them by using a cheap ND filter on the front) and it will be dual focus (but most of the times, you can get around it with some time and patience)

PS : don't pay more than $200 for an Ultrastar at it is the usual "low" price for it. 

I saw the post yesterday on magic lantern's forum and was sure it was an april's fools. Now I have a bit of a doubt.
I don't know if I should thank or hate you :D

I think the lens turbo 2 (from Mitakon) is a better optical quality, but of course, you loose the electronic connections. There are some used metabones if you want the electrical connection but don't have the budget for a new one

Or you can export using premiere CC which has Wraptor DCP included (I'm pretty sure you can export it with the trial version). I never managed to export DCP using resolve lite. Maybe it is locked from the free version, don't really know.

13 hours ago, artiswar said:

Nikon 35-70mm f3.5 Macro works great for me. It zooms internally, so it sitting with the scope on rails work great. I'd have to check Focus, as I use this with a single focus solution.  Shot this with this set up on a RED Dragon. 

 

Yay, already saw this teaser, and it is great

Are you able to use the full zoom range of the 35-70 ? I will vignette with my current setup at the wide end of a 35-70. which only lets me a useable range of 45-70... I'm not sure that is going to be worth it :s

10 hours ago, Grimor said:

Whats the anamorphic?

Usually zooms and modern lenses dont fit as well as old pancake primes with 2x projection anamorphics.

In my experience (im still a little noob ) focus throw like optex 1.33x works best in the other way. Perfect with panny 12-35mm and no so much with old primes.

I use mainly an Isco Ultrastar but I also have a Singer 16D and about to get an elmoscope

Does anyone know a lens that fits the following requirements :

• Internal focusing (lens length doesn't change when zooming in/out)
• usable focal length of 40-80 approximately (What interest me is that I can start at 40~42mm -minimum focal length for my setup- and have a bit of zoom range)
• can be mounted on canon EOS mount (Nikon, Pentax, M42 or canon EOS mount as examples)
• cheap/affordable (sub $200)

The goal is to have it on my anamorphic rig so that I can have the convenience of a zoom whilst being able to capture great anamorphic footage. Should be an interesting experiment for an cheap anamorphic zoom solution :D

The only zooms I have all have at least one problem :s 

Most of the zooms I have are longer at shorter focal lengths but I'd like the front element to stay put against the anamorphic adapter

Any ideas ? (I may be missing a simpler solution, but I am curious about this solution  )

Great, I think we just need to calculate the shipping price, and we're good to go  I am located in France. I'll send an PM with my full adress

great thank you  Is paypal OK for you ?

I'll take it

You only have two posts on this forum. Any way I can have a better overview of your seller profile on the web ?

I mean, even a BMPCC v2 with better screen and battery life would be OK to me
It is already 1080p 10bit 4:2:2 and Raw  Give me 2.5K for a bit of cropping in post and I'll give my money for sure (if it stays at $999)

5 hours ago, BrooklynDan said:

It is an AgaScope lens. It was built by a Swedish industrial firm during the widescreen craze of the late 50s/early 60s. It was mainly used in Sweden, although some sets made it to Eastern Europe. The set was fairly sparse and included a 46mm and a 75mm. There weren't any zooms or wide focal lengths available, so the modern day appeal of these lenses is limited. Quality should be on par with other early anamorphic systems of continental Europe like Dyaliscope or Totalvision.

Great information  Thank you so much !

1 hour ago, Riadnasla said:

Totally! I don't think I could ever leave making videos behind, and while up there I fully intend to take whichever camera I own out to film wildlife and other personal projects, plus any work that comes my way. I'm just trying to go for something a little easier to bring around and less intimidating to others. (Like any pro camera, the F3 does grab attention  )

 

I actually got to use a GH4 the other day, and am pretty impressed! Not much low-light ability but being able to overcrank to 96fps was pretty cool! If the GH5 is just as much a dream to work with, I may go that route, though I think I'd prefer an "all-in-one" camera so I am not worrying about all the bits and bobs I need to build a rig out of. 

the good thing about having video as a "(financially) second" occupation is that you don't have to work on "crappy" videos. You get to choose more according to your likings  
It is a kind of freedom very valuable to me, even if you get less available time than the other videomakers 

3 hours ago, Riadnasla said:

Also of note: For many reasons, personal and financial, my wife and I are considering the move to NWT where I would work an hourly job and leave full-time video behind, at least for the time being. While it is true the F3 hasn't worked out as well as I originally hoped for all the reasons mentioned, my filmmaking environment would also be drastically changing. We would be in a highly remote location, I would be completely solo for anything I film, with no budget for DPX sequence storage, and other factors. I would also be filming mainly for personal reasons (my son growing up, micro-films, scenic landscapes and wildlife, etc) with the odd wedding/grad/funeral as foreseeable paid gigs on weekends. For these circumstances, it is more important to have a more agile camera with good internal recording than it is to have an inexpensive cinema camera. If I still have the F3, then I'll bring the F3 up. But if I can make this change, I'd like to do it before it becomes impossible to sell the camera with enough leftover to get another. 

I have a full time job myself and make videos too. Don't worry, it is not impossible. You just have to be very organised and reserve moments for video. I reserve usually Saturday and two evenings on the week. 
Having another "occupation" forces you to be very efficient in the video work you're doing (and you are assured of having a paycheck).
I'am not saying it is a great situation, but just wanted to encourage you and let you know that it is possible to mix jobs. (Plus you never know, they might need some video in you full-time job. Never say no to opportunities )

Nice finding, the question is : will it cover S35/FF ? If so the price can be high yes ! If it only covers S16 not that many people will be interested. This does looks nice indeed, I curious to know if it is a rehousing a unique optical design. Can you try and take a picture with it ?

OMG this is awesome :D
Great and funny idea you had shooting it with toy cars  Plus I'm a huge fan of synthwave so I couldn't be happier. Please share the full clip when it's out !

4 hours ago, zerocool22 said:

I thought so too. But I did a side by side from my 5D III RAW and my bmcc 2.5K and I found that the 5D III preserved more data in its highlights. (the BMCC probably more in its blacks). But after some tests I decided to keep my 5D and sell off the BMCC. Cause I just liked the look more then the look from my bmcc. But thats is just my opinion.

Very interesting. I guess the color you got from the 5dmk3 was just worth it  
Because, DR, Resolution and Workflow seems better with the BMCC. Thanks for sharing your thoughts on this.

3 hours ago, hyalinejim said:

Just chiming in to also stand up for 5Diii RAW. It can be very easy and fast to work with in post, once you master one of many possible workflows which are differently quick / slow and simple / laborious.

I use it professionally every day. 

Image quality downsides: there is very slight aliasing, its 1080p is not as clear as a downsampled 1080p, dynamic range is "only" 11.5 stops.

I am using the 50D, which has 11 stops of range (in low ISO). It is "enough" for most applications, but I would gladly have a couple stops more
Did you try the Dual-ISO raw movie mode ? People claim you can get 13 stops of DR on the 5dmk3 with dual-iso.

13 hours ago, dbp said:

Talking pure image quality, I'd say:

5D Raw

BMCC/BMPCC Raw

Digital Bolex

Nothing else in that range competes with those based on anything I've seen. Ergonomics / usability is a whole different matter. 

I would invert your list as Magic Lantern raw has nowhere near the dynamic range of Black Magic or Digital Bolex's cameras

29 minutes ago, tupp said:

In addition to the suggestions above, you might consider a used camera:  the Digital Bolex; the Sony F3 (w/4:4:4 capability); the Sony FS700 (w/raw recorder); or a KiniMini refurb.

If I had the money, I would totally go with the Digital Bolex or the F3 (w/ 4:4:4 & slog). Just choose your sensor size and you're good to go !

Get a front clamp and a diopter  (+1 are easy to find and quite cheap)

The only thing that is worth that X camera is the best for ML would be increased maximum write speeds (for ML raw). I don't see anything like that on the 77D. I'll be listening when canon announces a new DSLR with CFast support :D

On 2/18/2017 at 6:33 AM, Emanuel said:

 

Take a look in the differences from 1600 to 3200 ISO, so the secret with this device is to keep it under control. Actually, as happens with all cameras. With a difference here: up to ISO1600 for acceptable response.

I may be the only one to think like this but to me, this looks very clean (at least once youtube compression is applied).
This 3200 Iso looks better than any of my cameras does past 800 iso :D